Academic literature on the topic 'Psychological aspects of Rap (Music)'
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Journal articles on the topic "Psychological aspects of Rap (Music)"
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Tetelea, Margarita, and Ana Glebov. "2. Some Aspects of Developing Musical Thinking in the Training of Musical Student." Review of Artistic Education 11, no. 1 (March 1, 2016): 15–19. http://dx.doi.org/10.1515/rae-2016-0002.
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Abstract This article examines various approaches and methods used to develop musical thinking in students. It also reveals some of the principles, developed by a number of scientists to facilitate the process. One of the new principles of developing musical thinking is internalization of music, proposed by the Moldovan professor and musicologist Ion Gagim, who in his works justifies its use from the philosophical, musicological, psychological and pedagogical perspectives.
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Abdul-Adil, Jaleel K. "Modern Rap Music: Mining the Melodies for Mental Health Resources." Journal of Youth Development 9, no. 2 (June 1, 2014): 149–52. http://dx.doi.org/10.5195/jyd.2014.66.
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Modern Rap music is a very popular, powerful, and controversial form of contemporary youth media. Despite clearly counter-productive aspects of certain lyrics, videos, and other cultural elements, Rap music also offers prosocial material that can enhance the appeal and impact of mental health interventions. This article describes the Young Warriors program as an example of a Rap-based program that promotes positive development in urban ethnic minority youth. Future directions and similar scholarly efforts are also highlighted.
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Uhlig, Sylka, Erik Jansen, and Erik Scherder. "“Being a bully isn’t very cool…”: Rap & Sing Music Therapy for enhanced emotional self-regulation in an adolescent school setting – a randomized controlled trial." Psychology of Music 46, no. 4 (July 21, 2017): 568–87. http://dx.doi.org/10.1177/0305735617719154.
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Music as an effective self-regulative tool for emotions and behavioural adaptation for adolescents might enhance emotion-related skills when applied as a therapeutic school intervention. This study investigated Rap & Sing Music Therapy in a school-based programme, to support self-regulative abilities for well-being. One-hundred-and-ninety adolescents in grade 8 of a public school in the Netherlands were randomly assigned to an experimental group involving Rap & Sing Music Therapy or a control group. Both interventions were applied to six classes once a week during four months. Measurements at baseline and again after four months provided outcome data of adolescents’ psychological well-being, self-description, self-esteem and emotion regulation. Significant differences between groups on the SDQ teacher test indicated a stabilized Rap & Sing Music Therapy group, as opposed to increased problems in the control group ( p = .001; ηp2 = .132). Total problem scores of all tests indicated significant improvements in the Rap & Sing Music Therapy group. The RCT results imply overall benefits of Rap & Sing Music Therapy in a school setting. There were improved effects on all measures – as they are in line with school interventions of motivational engagement in behavioural, emotional and social themes – a promising result.
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Segalo, Puleng. "The psychological power of rap music in the healing of black communities." Muziki 3, no. 1 (January 2006): 28–35. http://dx.doi.org/10.1080/18125980608538781.
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Dorchin, Uri. "In quest of truth: the meaning of message making in Israeli rap." Popular Music 34, no. 3 (September 8, 2015): 452–70. http://dx.doi.org/10.1017/s0261143015000367.
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AbstractThis article explores the meaning of ‘message’ in rap made in Israel. I suggest that since Israeli rappers perceive rap not just as music but as an instrument for the articulation of one's true self, they invest heavily in the notion of truth, rendering the making-of-a-message a message in its own right. I draw on two different analytical methods to explore the meaning of truth in this context: text analysis, based on a ‘word-system approach’, and ethnography of performance. The analysis of speech strategies exposes the different aspects attached to the idea of truth, and this is complemented by my fieldwork experiences, which illustrate how these aspects and perceptions are being practised during performance. I argue that for Israeli rappers the ideals of message making and ‘keeping things real’ draw simultaneously on the global stylistic capital of hip-hop and on local traditions of straightforward verbal expression.
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Mirka, D. "Hearing in Time: Psychological Aspects of Musical Meter." Journal of Music Theory 48, no. 2 (January 1, 2004): 325–36. http://dx.doi.org/10.1215/00222909-48-2-325.
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Nzinga, Kalonji L. K., and Douglas L. Medin. "The Moral Priorities of Rap Listeners." Journal of Cognition and Culture 18, no. 3-4 (August 13, 2018): 312–42. http://dx.doi.org/10.1163/15685373-12340033.
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AbstractA cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring what the members of a community subjectively perceive to be moral or immoral in their local context. This study seeks to identify the moral concerns that are most relevant to listeners of hip-hop music. We use validated psychological surveys including the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess which moral concerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justice and authenticity more than non-listeners and deprioritize concerns of respecting authority. These results suggest that the concept of the “good person” within hip-hop culture is fundamentally a person that is oriented towards social justice, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a discussion of the role of youth subcultures in moral socialization.
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GRASSE, JONATHON. "Conflation and conflict in Brazilian popular music: forty years between ‘filming’ bossa nova in Orfeu Negro and rap in Orfeu." Popular Music 23, no. 3 (October 2004): 291–310. http://dx.doi.org/10.1017/s0261143004000182.
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Popular music plays important roles in two related films portraying Brazilian slum life. Based on a 1953 play by Vinícius de Morais, Marcel Camus's 1959 film Orfeu Negro, and a 1999 feature by Brazilian director Carlos Diegues titled Orfeu, augment traditional samba styles with bossa nova and rap, respectively. Interpreting musical style as allegorical texts within fictive landscapes, this paper examines conflation and conflict among musical meanings, Brazilian social histories, and discursive identities marking the twentieth century. Broad aspects of Brazilian political and socio-cultural development are implicated, such as authoritarianism, the politics and sociology of race, technological advances, mass media, and modes of modernisation. Here, bossa nova and rap engage society through reflexive and generative interpretations within a narrative designed to illustrate connections between processes of innovative, trans-national cultural production, myths of national identity, social change, and the powerful role of popular music in film.
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QUINN, EITHNE. "“Who's The Mack?”: The Performativity and Politics of the Pimp Figure in Gangsta Rap." Journal of American Studies 34, no. 1 (April 2000): 115–36. http://dx.doi.org/10.1017/s0021875899006295.
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Mack: pimp; talk someone into something“Pimptionary,” Ice-TMack man: Short for Mackerel man, a pimp. Possibly from the French maquereau. Connotes the working side of pimping, especially the line, the “rap,” the psychological game.“Pimp Talk,” Christina and Richard MilnerMack, as these definitions attest, is synonymous with pimp and is so deployed in gangsta rap as both noun and verb. From this denotative meaning, the term has assumed secondary meanings: to persuade, or as Ice-T says “to talk someone into.” The mack comes to mean the persuader, the trickster, the rapper. This semantic shift strikes at the centre of the equivalencies between rap artist and pimp. As music critic S. H. Fernando asserts, “the one specific quality that pimps and rappers share is their way with words.” If broad parallels can be drawn between pimping and rapping, what is distinctive about the notorious and highly successful subgenre of gangsta rap, which emerged in late-1980s urban California, is that here this equivalence is literalized. Many gangsta rappers actually assume pimp personae, presenting oral narratives which fulfil both denotative and connotative meanings of the word mack.
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Mukhtarova, A. S., and O. A. Alimuradov. "Some linguistic peculiarities of the English and Russian rap texts: a comparative study drawing on the material of texts of grime microgenre." Current Issues in Philology and Pedagogical Linguistics, no. 2(2020) (June 25, 2020): 133–46. http://dx.doi.org/10.29025/2079-6021-2020-2-133-146.
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The article is devoted to a comparative analysis of the linguistic characteristics of the English- and Russian-language song discourse of the late XXth – early XXIst centuries drawing on the material of music works of rap genre. Today, rap is one of the most popular music genres around the world. This musical genre is developing dynamically, comprehending various aspects of modern life, people’s problems, and therefore it has a fairly wide audience. The topicality of the research is determined by the need to deepen the linguistic understanding of creolized texts, the lacunarity of the concept of genres of polycode texts, as well as a high degree of intertextuality of the studied texts. The English and Russian-language texts of rap music works by such artists as Skepta, Oxxxymiron hae served as the material for the research. The Genius website was the source of the texts. Special attention is paid to the classification of subgenres and microgenres of rap with the allocation of the grime microgenre, which has been taken as the key genre for the study. On the basis of the results of the empirical analysis of the discursive material, the authors claim that the Russian- and English-language grime microgenres have some common and differential features. Common features include the use of precedent names, explicit citations, the use of metaphors, antitheses, repetitions, pun, slangisms, obscene lexis, and edlibs. In the English-language grime, there are no allusions to mythology, biblical text, or other literary works that are frequently present in the tracks of the Russian-speaking artist. The authors conclude that various ways of implementing intertextuality are represented in a wider spectrum in the Russian-language grime than in the English-language grime
Dissertations / Theses on the topic "Psychological aspects of Rap (Music)"
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Feasel, Brandon L. "The relationship between attitudes towards women and violence and music preference." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1293372.
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This study examines attitudes regarding general violence, violence against women, gender roles, and rape myth and how they relate to music preference. Surveys were completed by 321 students from two large introductory sociology classes at a midsize Midwestern university. Data were analyzed using Ordinary Least Squares (OLS) regression. The results indicate that those who listen to predominantly rap and r&b music are more accepting of general violence and violence against women. Also, findings support the idea that amount of music videos viewed affects views on gender roles. Results show no support for a relationship between attitudes about rape myth and listening to rap and r&b music.Department of Sociology
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Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.
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Atwood, Brett D. "The role of Rap and Hip-hop music in value acceptance and identity formation." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/631.
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This study exp !ores the relationship between an individual's interest in and exposure to the rap/hip-hop genre and the messages and values contained within the music, as well as the role of self-esteem in generating interest and motivating exposure to rap/hip-hop music. A survey questionnaire was administered to 213 students at a community college in northern California. Interest and exposure to rap/hip-hop were found to be significantly correlated with acceptance of a number of values portrayed in the music. However, those most interested in and exposed to rap/hip-hop music were less likely to perceive negative social values in the music as well as believe these values characterized rap/hip-hop artists. Self-esteem failed as a predictor of interest and exposure to the music.
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McDonald, Jennifer Ann. "Music and me : measuring and understanding real-life music preferences." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608208.
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Kirsch, Simone Hillary. "Psychological aspects of one-on-one instrumental teaching at the tertiary level." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17372.
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Thesis (M.Mus.)-- University of Stellenbosch, 2006.ENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these.
AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.
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Novak, Jennifer J. Doud. "Music Preferences 1980 Versus 1989 and Their Relationship With Selected Environment and Listener Variables." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278214/.
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The purpose of this study was to determine differences between the same subjects' music preferences at the elementary and high school levels, and the relationship between these findings and the following variables: peer preferences, musical training, excerpt familiarity, grade, gender, and race.
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Marshall, Daniel N. "Music With and Without Lyrics Increases Motivation, Affect, and Arousal during Moderate-Intensity Cycling." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011790/.
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Music is used to distract, energize, and entertain during exercise by producing positive psychological and physiological responses. Specifically, listening to music during exercise enhances performance, increases motivation, improves affect, and optimizes arousal. Researchers have identified several elements of music that may moderate this relationship, including lyrics. However, few studies to date have examined the influence of motivational lyrics on psychological and physiological states during exercise. Thus, the primary purpose was to investigate the effects of lyrics in music on motivation, affect, arousal, and perceived exertion during moderate intensity cycling. Thirty (Mage = 21.0 ± 2.9 years old) college-aged individuals performed three, 8-min acute bouts of moderate-intensity exercise on a cycle ergometer during music with lyrics (ML), music without lyrics (MNL), and no music control (MC) conditions. Measures of motivation, affect, arousal, and perceived exertion were taken before and after a 6-min warm-up, every 2-min during the exercise bout, and following a 2-min cool-down. For ML and MNL conditions, participants reported higher motivation, affect, and arousal during exercise relative to the MC condition. As expected, RPE increased throughout the exercise period, with no condition differences observed. Additionally, there were no differences in responses between the ML and MNL conditions. Collectively, these results suggest that music, regardless of lyrical content, can enhance psychological responses during exercise. The current findings may help address common exercise barriers and inform exercise practitioners on music selection to improve exercise adherence.
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Quinn, Sandra. "The perception of time in music." Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/17763.
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This thesis is concerned with the perception of time in music with emphasis on tempo, emotion and time perception in music. Three studies were conducted to assess whether listeners were able to make consistent judgements about tempo that varied from piece to piece. Listeners heard short extracts of Scottish music played at a range of tempi and were asked to make a two alternative forced choice of 'too fast' or 'too slow' for each extract. The responses for each study were plotted as proportion too fast responses as a function of tempo for each piece, and cumulative normal curves were fitted to each data set. The point where these curves cross 0.5 is the tempo at which the music sounds right to the listeners, referred to as the optimal tempo. The results from each study show that listeners are capable of making consistent tempo judgements and that the optimal tempo varies across extracts. The results also revealed that rhythm plays a role, but not the only role in making temporal judgements. In the previous studies, it is possible that listeners might be using an average tempo from previously heard extracts to make every subsequent response. We wanted to assess this by presenting a single stimulus per participant and therefore remove any effects of the context on participant's responses. Using this technique we shall show that listeners can make 'too fast' and 'too slow' responses that are independent of previously heard extracts. In addition the data reveal similar results to those found in the first experimental chapter. The 3rd chapter deals with the effect of changes in the tempo of music on the perception of happy and sadness. Listeners heard short extracts of music that varied in tempo and were asked to make a 2AFC of happy or sad for each extract. Separate psychometric functions were obtained for each extract of music, and the points where these crossed 83% and 17% happy were calculated, and treated as happy tempo and sad tempo respectively. The results show that most extracts can be perceived as both happy and sad just by varying the tempo. However, the tempo at which extracts become happy or sad varies widely from extract to extract. We show that the sad and happy tempi are related to the size of the intervals (pitch changes) in the extract. In considering what might be involved in the perception of time in music we wanted to assess what effect small changes to a stimulus would have on perceived duration. We presented 2 auditory stimuli and show that the perceived duration of the test stimulus with a change in pitch increased as the size of the pitch change increased. The results are explained in terms of event strength where strong events cause perceived duration to increase whilst weak events are perceived to be shorter by comparison.
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Chiu, Wing-sze Ivy, and 趙詠詩. "Effect of music on anxiety management during dental procedures." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45171695.
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Hutchins, Sean. "Implicit memory for music : factors affecting musical priming and their time courses." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115889.
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This thesis investigates implicit memory for music, as measured by repetition priming: a processing benefit for previously encountered items. Although repetition priming has been documented in many domains, including language, visual perception, and environmental sounds, it has not yet been demonstrated in music, a domain replete with pitch repetition. A novel methodology is presented in which participants sang back the final tone of a short melody. Experiments presented in Chapter 2 show that participants were faster to sing back a target tone when it was a repetition of a previous melodic tone than when it was not, and this effect was greatest when the repetition was closest to the target. These studies also showed a benefit for expected tonic tones, which were manipulated independently of the repetition effect. Chapter 3 presents a new analysis method for measuring response latencies in sung tones. A time-frequency representation that optimizes the tradeoff between time and frequency for each point in time yielded a measurement of singers' time to reach a target frequency, which takes into account both speed and accuracy of the vocal productions. The time-frequency measurement, applied to the data presented in Chapter 2, showed longer times to reach target frequency for higher pitches, as well as larger effects of tonal priming than were attained through traditional response latency measures. The experiments in Chapter 4 examine the time course of the effects of repetition and tonality. The singing-back paradigm used in Chapter 2 also was used with the additional manipulation of stimulus tempo. These studies implicated interference rather than decay as the cause of the decreased repetition priming effect. Stimulus tempo manipulations showed separate time courses for repetition and tonal priming. Together, these studies provide the first evidence of repetition priming in music, document its interaction with other factors including tonality and pitch height, and describe its time course. The findings are discussed in terms of sensory and cognitive theories of priming.
Books on the topic "Psychological aspects of Rap (Music)"
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United States. Congress. Senate. Committee on Governmental Affairs. Subcommittee on Oversight of Government Management, Restructuring, and the District of Columbia. Music violence: How does it affect our children : hearing before the Subcommittee on Oversight of Government Management, Restructuring, and the District of Columbia of the Committee on Governmental Affairs, United States Senate, One Hundred Fifth Congress, first session, November 6, 1997. Washington: U.S. G.P.O., 1998.
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Anger management in sport: Understanding and controlling violence in athletes. Champaign, IL: Human Kinetics, 2010.
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Rap and religion: Understanding the gangsta's god. Santa Barbara, Calif: Praeger, 2012.
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Kage, Jan. American rap: Explicit lyrics : US-HipHop und Identität. Mainz: Ventil, 2002.
Find full textBook chapters on the topic "Psychological aspects of Rap (Music)"
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Bernstein, Zachary. "Poetic Form and Psychological Portraiture in Babbitt’s Early Texted Works." In Thinking In and About Music, 125–95. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.003.0005.
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In five early texted works—“The Widow’s Lament in Springtime,” Du, Two Sonnets, Vision and Prayer, and Philomel—Babbitt uses a variety of means to project both poetic form and the psychological life of the characters represented. Trichordal derivation is used to model metaphors of reference, dependency, and layers of psychological action. Divergences between voice and accompaniment can also create layers of agency and implication. In several instances, Babbitt’s desire to reflect the meaning of texts leads him to musical structures that depart from the practice and principles he develops in his instrumental work. Moreover, in all five of these pieces, poetic form—the sonic, syntactic, and visual aspects of poetry—is projected in numerous ways; this is shown to derive from Babbitt’s youthful career in musical theater. Some ways involve the coordination of serial and poetic articulation, and some involve non-serial musical dimensions.
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Stashevska, I. O. "PSYCHOPHYSIOLOGICAL AND MUSICAL-PSYCHOLOGICAL ASPECTS OF PREPAREDNESS OF PRESCHOOL CHILDREN TO INSTRUMENTAL MUSIC EDUCATION." In METHODOLOGICAL CULTURE OF AN EDUCATOR: HISTORY AND MODERNITY, 122–41. Liha-Pres, 2019. http://dx.doi.org/10.36059/978-966-397-130-8/122-141.
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Linek, Stephanie B., Birgit Marte, and Dietrich Albert. "Background Music in Educational Games." In Developments in Current Game-Based Learning Design and Deployment, 219–30. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1864-0.ch016.
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Most game-designers likely stick to the assumption that background music is a design feature for fostering fun and game play. From a psychological point of view, these (intuitive) aspects act upon the intrinsic motivation and the flow experience of players. However, from a pure cognitive perspective on instructional design, background music could also be considered to be redundant information, which distracts from learning. The presented study investigated the influence of background music (present vs. not present) within an educational adventure game on motivational (intrinsic motivation, experienced flow) and cognitive variables (cognitive load, learning success). The results suggest a high motivational potential of background music. However, neither positive nor negative effects on learning were detected. Thus, background music can be considered as a motivating design element of educational games without negative side-effects on learning.
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Linek, Stephanie B., Birgit Marte, and Dietrich Albert. "Background Music in Educational Games." In Gamification for Human Factors Integration, 259–71. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5071-8.ch016.
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Most game-designers likely stick to the assumption that background music is a design feature for fostering fun and game play. From a psychological point of view, these (intuitive) aspects act upon the intrinsic motivation and the flow experience of players. However, from a pure cognitive perspective on instructional design, background music could also be considered to be redundant information, which distracts from learning. The presented study investigated the influence of background music (present vs. not present) within an educational adventure game on motivational (intrinsic motivation, experienced flow) and cognitive variables (cognitive load, learning success). The results suggest a high motivational potential of background music. However, neither positive nor negative effects on learning were detected. Thus, background music can be considered as a motivating design element of educational games without negative side-effects on learning.
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Bailes, Freya. "Musical imagery and the temporality of consciousness." In Music and Consciousness 2, 271–85. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0016.
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Musical imagery can be defined as the conscious experience of an internal representation of music—a form of inner hearing. This chapter adopts a psychological approach to considering temporal aspects of musical imagery, from the characteristics and frequency of episodes ranging in scale from seconds and minutes (e.g. the mental continuation of interrupted music), to the potential impact of circadian (24-hour) rhythms upon the subjective experience of musical imagery. The common ground between musical imagery and other forms of spontaneous cognition, combined with evidence of temporal fluctuations in our conscious awareness of inner music, suggests a new cyclical model of musical imagery. Exploring the music in our ‘mind’s ear’ has the potential to shed light on the time course of consciousness, with consequences not just for what it means to re-present music in the mind but also for how and when new ideas come to be experienced in our imaginations.
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Huang, Chih-Fang, Chih-Hsiang Liang, and En-Ju Lin. "A Study on Emotion Releasing Effect with Music and Color." In Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, 23–31. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4490-8.ch003.
Full textAbstract:
Music is considered a remedy for the body body, psychological therapy, and a mental release. During World War Two, health medical professionals held concerts to appease the wounded soldiers’ emotions and to initiate the research and discussion of music and emotion applied to various fields in academia. This chapter attempts to use the music emotion model as the media to introduce the possible emotional response during music listening via music structure, listener’s background, and surroundings, to do the research for human physical and psychological influence by automatic generated electronic sound, and to discuss the emotional releasie effect of music. This chapter also discusses various emotional responses derived by various colors applied to the music emotion model to break the limitation of the existing music forms and to develop the possible music color synesthesia applied to all aspects, in order to lay the foundation for next generation users.
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Juslin, Patrik N. "Seeing in the Mind’s Eye." In Musical Emotions Explained, 330–42. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.003.0023.
Full textAbstract:
This chapter considers the psychological mechanism known as visual imagery. Visual imagery is defined as a process whereby an emotion is evoked in the listener because he or she conjures up inner images while listening to the music. Images might come about in three ways. First, mental imagery may occur when listeners conceptualize the musical structure through a nonverbal mapping between the metaphorical ‘affordances’ of the music and image-schemata grounded in bodily experience. A second type of imagery might occur when a listener brings to a listening experience certain types of knowledge or myths about the circumstances surrounding the creation of the piece or about the artist in question. Thirdly, a music listener can create images based on how certain aspects of the music mirror aspects of the listener's current life experience.
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Taylor, Monique. "The Reel and Surreal of Race in America: Michel Gondry and the African–American Identity Crisis of Dave Chappelle." In ReFocus: The Films of Michel Gondry, 153–66. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.003.0010.
Full textAbstract:
In this chapter Monique Taylor analyses the concert documentary DaveChappelle’s Block Party (2005), directed by French filmmaker Michel Gondry, which depicts the organization and performances of a “block party” hosted by African-American comedian Dave Chappelle in Brooklyn, New York. Chappelle’s Block Party featured performances by some of the biggest names in hip hop, rap, and R & B music, including ?uestlove, Erykah Badu, Mos Def, the Fugees reunited with Lauryn Hill, and Kanye West. The chapter argues that Gondry plays the role of outsider-looking-in as both a participant in as well as an observer of aspects of American cultural conversations on memory, identity and language. Taylor’s chapter draws attention to Dave Chappelle’sBlock Party’s construction of a hybrid and hyper-real community through the use of strategies such as movements back and forth in time between the entertainers’ performances and the preparations leading up to the concert which highlight the production of the event, surreal visual embellishments, and prominent allusion to symbols of African–American identity. The chapter also places the film within the context of Chappelle’s own exploration of his identity and struggle to “keep it real.”
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Abe, Akinori. "The Possibility of the Literary Work Generation by Computer." In Computational and Cognitive Approaches to Narratology, 76–90. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0432-0.ch002.
Full textAbstract:
Recently the importance of entertainment for senior citizens and children has been pointed out. Accordingly, it is necessary to develop robots who can write poems, compose music, paint pictures, etc. For that, for instance, an automatic poem or story generation system will be necessary. This chapter will show the possibility of literary-work (poem, story, novel etc.) generation. First, the author introduces the research field, “Language-Sense Processing Engineering (LSE)” where the affective or psychological aspects of language is focused on. The author defined “language sense (the key concept in LSE)” as affective or psychological aspects of language. One of the features can be used for literary work generation is the “intertextuality” proposed by J. Kristeva. The possibility of the automatic literary work generation will be shown by the strategy to generate waka (Japanese poem). In addition, several strategies to generate literary works will be shown to illustrate the possibility of the automatic literary work generation.